It's interesting to think that my children know more about the process than many mature critics.

You don't write for actors. Actors come for characters you've made up.

You evolve in the ways in which you are precious. When you are the director, you are also continuing to write on the floor as you go along.

Out of all of the Star Trek movies, I happen to like the most recent one the best. I think it was the best one ever done.

I write drama in the English language. If I wasn't working in London I'd be doing something wrong.

I don't have an aversion to quote unquote remakes, because I understand what dramatic writing is, what the dramatic profession has always been about, which is talent, not the pretext for its exhibition.

London exists normally in a state of bleach bypass. There's the artistic context of "Blow Up" and "Performance" and all the Sixties and Seventies British films that I grew up on, because I did very much grow up on British films.